Patrick Nolan and Joanna SullivanUnpacking the Complexities in developing young flautists: Beginner to Pre-Tertiary

11.00 - 11.30

TEA

12.00 - 1.00

Patrick Nolan and Joanna Sullivan Unpacking the Complexities in developing young flautists: Beginner to Pre-Tertiary

1.00 - 2.00

LUNCH

2.00 - 3.20

Margaret CrawfordOvertures, ornaments and notes inégal in the French Baroque

Jocelyn Edey Fazzone

'Extra' Ordinary Studio Teaching

3.20 - 3.40

TEA

3.40 - 5.00

Andrew MacleodFlute Anatomy 101

Fluteworthy

Repertoire for Intermediate players

Unpacking the Complexities in developing young flautists: Beginner to Pre-Tertiary

Patrick Nolan and Joanna Sullivan

Part A

The ins and outs of Breathing and sound production

Teaching breathing

Air-stream awareness

Tone development and flexibility

Intonation

Part B

Understanding the brain and its best utilization in the development of young flautists, equipping the tool box.

Scale Map and harmonic understanding

Finger Dexterity

Articulation

Rhythm and time

Efficiently and effectively uploading the technical information to the sub-conscious so that the conscious mind is free to focus on the musical message and communication.

Part C

Developing effective teaching to optimize student learning.

Heightening independent learning and motivation

Increasing self-esteem

Encouraging greater student commitment

Promoting a supportive and strong teacher/student relationship

Communication and enthusiasm

Overtures, ornaments and notes inégals in the French Baroque

Margaret Crawford

18th century French music was often unintelligible to musicians from other countries. The reason for this was expressed by François Couperin in 1717: “In my opinion, there are faults in our way of writing music, which correspond to the way in which we write our language. We write a thing differently from the way we execute it; and this causes foreigners to play our music less well than we do theirs ... I wish someone would take the trouble to translate us for the benefit of foreigners, and would thus give them the possibility of judging for themselves the excellence of our instrumental music.”

Today French Baroque music is still one of the least understood and most controversial of styles, and much of it still lies buried in obscurity. We will explore some of the possible solutions using some great French flute repertoire.

'Extra' Ordinary Studio Teaching

Jocelyn Edey Fazzone

Jocelyn looks at our day to day studio teaching with a presentation designed to refresh and replenish our work. This session focusses on the teaching of non-elite students – our everyday ordinary teaching – and turning it into something extraordinary!

Flute Anatomy 101

Andrew Macleod

The Art of breathing

Abdominal release in breathing – the effortless concert of jaw and diaphragm

Flute- the asymmetrical instrument

How to reset bringing the flute up – Where do we initiate the movement? The missing joint and the pully system!

Carriage of the head over the spine

Don’t lock the elbow!

The hips- your other feet

Locking knees and the forgotten feet

This presentation will also include a short 8 minute animated video on breathing, and also involve the services of my assistant, Marcel (the Skeleton).

Repertoire for Intermediate players

Fluteworthy - Christine Draeger, Lamorna Nightingale, Jocelyn Fazzone

Based on the most recent Fluteworthy Publication which follows on from their Repertoire Collections aimed at Beginner, 2-3 grade and 4-5 grade players this program will highlight repertoire aimed at the 5/6 grade player.

It will include repertoire from the AMEB syllabus but will also include repertoire that is appropriate for HSC and other needs. This level is a crucial point that many students can tend to get stuck so we need lots of repertoire as teachers to keep them playing and enjoying making music. It is also a level that many more advanced players find it comfortable to sight-read so the repertoire is often perfect for performing in studio concerts or at events such as weddings. It will draw together repertoire that has been hard to access particularly from the AMEB List D. This performance will present excepts of many pieces to expose teachers to the range of repertoire.